HERTZ & HAVOC - Part 2: Imbuing Nature into Sound, MIDI & Recordingswith Fout List

HERTZ & HAVOC

Part 2: Imbuing Nature into Sound, MIDI & Recordings
with Fout List

In this Lux Cache article/tutorial series, we embark on a sonic journey into the realm of 'randomized' sound design and compositional methods, unravelling the mysteries of unpredictability in digital audio creation. In this chapter, Fout List delves deeper into the intricacies of marrying nature with digital soundscapes, exploring how MIDI programming and instrument recordings can be manipulated to create soundscapes that breathe with life and resonate with the complexity of the natural world. As we venture through this exploration, we'll uncover how the randomness inherent in nature can inspire and shape our sound design and composition techniques, allowing us to craft pieces that stand at the intersection of the organic and the synthesized.

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INTRODUCTION

Nestled in the embrace of northern Wales, away from the clamour of life, I found my muse amongst the rustling leaves and the serene calls of hidden fauna. This secluded cabin became a crucible for my explorations in sound and spirit. It's here, amidst the unspoiled beauty of nature, that the essence of my work with Kai Whiston took shape, culminating in our album, "No World As Good As Mine."

Bonjour, I'm Fout List, a multi-instrumentalist and bedroom producer from Bordeaux. My journey has always been one of intertwining the organic with the electronic, seeking to capture the unspoken narrative of nature and embed it within the fibres of my music. 

In this tutorial, I aim to share not just the methodology but the philosophy behind my music. It reflects my belief that every sound in nature holds a story, waiting to be told. From the rhythmic pattern of rain on woodland leaves to the harmonious choruses at dusk, our world is alive with music. Capturing these moments, these breaths of the earth, and tying them into our compositions, we not only pay homage to its beauty but become narrators of its ongoing tale.

1. GENERATIVE ORGANIC SOUND MACHINES IN ABLETON LIVE 12

In the studio, where the boundaries of acoustic tradition and electronic innovation converge, lies the opportunity to forge soundscapes that are as unpredictable as they are harmonious. With Ableton Live as our vessel and Synplant as our primary tool, this guide will navigate through the creation of generative music, rooted in technical prowess yet open to the spontaneity of sound's inherent unpredictability.

Foundation

• Starting with Synplant: Open Ableton and initiate a new MIDI track to welcome Synplant into our sonic architecture. Known for its unique interface and capability to produce unexpected sonic results, Synplant excels in generating sounds that defy traditional synthesis methods. Utilize its random branch feature to begin our journey into generative sound design.

• Layering Chaos: To compound the unpredictability, add effects equipped with randomization capabilities. Options might include Melda Production Plugins, which all have a Random and Random Preset option. These features can also be found in plugins like Shaperbox and Rift, to add a multi-fx approach and create weird, random complex sounds very quickly. These layers of randomness introduce complexity and variation, mirroring the unpredictability inherent in both nature and digital algorithms.

Further Exploration

• Dynamic Movement: Apply long, randomized Low-Frequency Oscillators (LFOs) to modulate various parameters across Synplant and our selected effects. This modulation isn't just for variation—it's a deliberate act to infuse our sound with organic movement and evolution, creating a living soundscape that shifts and breathes over time.

• Natural Resonance: To finalize, we subtly integrate effects like small reverbs, delays, and resonators. These are not mere embellishments but essential components that endow our digital creation with a semblance of the organic. They're tools to polish and refine, adding spaces and textures that make the sound feel more alive, more akin to the complexities of the acoustic world.

As we initiate this process, engage with it not just as a technical exercise but as a philosophical exploration into the essence of sound creation. The act of blending programmed randomness with intentional modulation requires a balance between control and surrender, echoing broader themes in art and life itself. This method encourages us to question and experiment, to listen deeply not only to the sounds we create but also to the silence between them, and to embrace the unexpected results as part of the creative dialogue.

In synthesizing these elements, we create not just music but a dynamic auditory environment that reflects the layered complexities of the world itself. It's a testament to the power of modern music production tools and methodologies to transcend traditional boundaries, enabling us to explore the vast potential of sound with curiosity and precision.

As you continue to explore these techniques, remember that the journey into sound design is perpetual, with each session offering new insights and opportunities for innovation. The convergence of technical skill and open-ended exploration forms the cornerstone of generative music, inviting us to redefine the boundaries of what is possible in the DAW.

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🔊 - 2. EXAMPLE B.wav
🔊 - 2. EXAMPLE C.wav

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2. INTUITIVE SINGLE-NOTE CHORD GENERATION

The Philosophy Behind a Single Note

Before we dive into the technicalities, let’s reflect on the concept. In the domain of music production and composition, the transition from traditional chord structures to generative chord generation represents a significant paradigm shift. This discourse delves into the foundational philosophy of using a single note as the genesis of complex harmonic landscapes, exploring the juxtaposition between the simplicity of input and the complexity of output. It posits that a singular note, when subjected to generative processes within a digital audio workstation like Ableton Live, can burgeon into intricate chord shapes and progressions, often transcending conventional music theory paradigms.
The act of surrendering to the generative capabilities of music production software embodies a philosophical stance that embraces uncertainty and the relinquishment of control. This stance is predicated on the belief that beauty and complexity can emerge from the minimalism of a single input. Through the manipulation of MIDI effects, a singular note can spontaneously generate chords with varying intervals, textures, and densities, often yielding results that deviate from the artist’s preconceived notions or understanding of music theory. This phenomenon underscores the serendipitous nature of creativity, where the relinquishing of control opens the door to novel harmonic explorations.

Setting up Chord Generation:

• Instrument Choice: Place an instrument of your choice on a MIDI track. It could be anything from a grand piano for classical richness to a synth for a more electronic texture. Typically, tonal instruments have the most harmonious effect, but atonal and noisy instruments can also generate interesting results. The instrument you choose will colour the chords generated, so select something that resonates with your current project or experimentation mood.

• Generative Chords: Chord MIDI Effect: Drag the Chord MIDI effect onto your track. This effect allows you to add up to six additional notes to the note being played, creating a chord. However, instead of manually setting a fixed chord structure, we’ll be using the Expression Control effect to add a layer of randomness and evolution to these chords.

• Expression Control Effect: Place the Expression Control MIDI effect after the Chord effect on your track. This effect will be the heart of our generative system. Go to the Expression Control mappings and assign a MIDI control (such as Mod Wheel or Aftertouch) to control a random parameter. Set this parameter to affect the ‘Shift’ controls in the Chord MIDI effect, with values ranging from 50% to 100%. This setting will randomly alter the intervals of our chords, generating variations like 5ths, 7ths, etc., based on the root note played.
  
  

• The Nature of Randomness: The beauty of this setup is that each time you press a root note, the Expression Control effect randomly selects values within the specified range for the Chord MIDI effect. This randomness ensures that every chord generated is unique, transforming a simple root note into a complex, evolving harmonic structure.

• (Bonus) Bringing Motion with an Arpeggiator: Before the Chord: To add a dynamic, evolving character to our generative chords, insert an Arpeggiator MIDI effect before the entire chain (before the Chord MIDI effect). The arpeggiator will cycle through the notes of the generated chords, creating a cascading effect that breathes life into the static harmony.

  • Tweaking the Arpeggiator: Experiment with the arpeggiator's rate, style, and octave settings to find the rhythm and motion that best suits the piece you’re working on. The goal is to create a constantly evolving cascade of notes that feels organic and alive.
    

• (Bonus) Recording Generative Chords to Separate MIDI Track: We can easily record these generative chords into their own MIDI track, if you would like to dial down the randomness and maintain control over the MIDI outputted. Simply create a new MIDI track, head over to the track options of its INPUT to the generative chord track. Now, when you have both tracks armed, the chords shall be recorded whilst you’re playing them.
  

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3. TACTIVE MANIPULATION OF STRINGS

In the symphony of creation, the stringed instruments carry the melody of history, each vibration a note in the narrative of our collective human experience. This chapter delves into the art of transforming these ancient sounds through modern experimental methods, breathing new life into the strings while honouring their intrinsic beauty. Our journey explores the use of Kilohertz (KHS) Ensemble, mHarmonizer, Grain Delay, and advanced techniques like envelope follower modulations and unconventional sidechaining to create textures that are at once familiar and startlingly new.

Using khs Ensemble

The Ensemble plugin by Kilohertz offers a palette for transforming the linear sound of stringed instruments into a lush, multifaceted orchestral tapestry. This tool simulates the effect of multiple instruments playing the same part, adding depth and richness to the sound.

• Setup: Place kHs Ensemble effect on a track with a recorded string section or solo string instrument. Begin with the preset settings to understand the baseline effect.

• Fine-tuning: Adjust the amount of voices to add complexity to the sound. More voices result in a richer, but potentially muddier, sound. Finding the sweet spot is key.

• Depth and Motion: Experiment with the modulation settings to introduce movement into the strings. Subtle modulation can simulate the natural ebb and flow of an ensemble performance.

Using mHarmonizer

mHarmonizer enriches the harmonic content of your string recordings, introducing new dimensions of sound through pitch shifting and harmonization.

• Initial Setup: Apply mHarmonizer directly to your string track. Start with a simple harmonization, such as a third or fifth, to add harmonic complexity without overwhelming the original recording.

• Exploration: Dive into more complex harmonizations. Use the plugin to experiment with less conventional intervals or multiple harmonizations at once for a richer texture.

• Dynamic Control: Adjust the mix between the original and harmonized signals for a balanced sound. Use automation to vary this mix throughout your arrangement for dynamic interest.

Using Grain Delay

While Grain Delay has become a staple in experimental production, its capacity for innovation is far from exhausted. Specifically, its "spray" feature, when used with small delay times and high feedback, offers a sandbox for creative exploration.

• Foundation: Apply Grain Delay to your string track. Start with a small delay time, between 1 ms and 50 ms and high feedback settings as a baseline.

• The Spray Feature: Adjust the spray parameter to scatter the grains of sound, creating a texture that feels both granulated and cohesive. This technique can produce sounds ranging from a gentle, shimmering effect to a chaotic, almost unrecognizable transformation of the original recording.

• Feedback Manipulation: Experiment with extreme feedback settings cautiously. At high levels, feedback can introduce a self-sustaining loop of sound that evolves, adding an unpredictable element to your composition.
  

Case Study: Tim Hecker - Unconventional Envelope Following and Sidechaining

Taking our experimental journey further, we employ the Envelope Follower and creative sidechaining techniques to modulate parameters based on the dynamics of the strings themselves or other elements in the mix.

• Envelope Follower: Use the Envelope Follower to modulate effects parameters based on the amplitude of the string recording. This could mean modulating the mix level of the Grain Delay or the modulation depth in the KHS Ensemble, creating a dynamic relationship between the volume of the strings and the intensity of the effect.

• Creative Sidechaining: Instead of traditional sidechaining, which typically uses a kick drum to duck the volume of a track, try sidechaining effect parameters to different elements. For example, the feedback of the Grain Delay might be controlled by the hi-hat track, introducing rhythmic complexity to the texture of the strings.

Through these experimental methods, we achieve a transformation of string recordings that maintains their essence while introducing a depth of texture previously unimagined. The tactile quality of the strings is preserved, even as they are cloaked in new sonic garments, creating a bridge between the acoustic past and the boundless possibilities of electronic experimentation.

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CONCLUSION

As I bring this tutorial to a close, we stand not at a conclusion but at the threshold of boundless exploration. Our journey through the realms of generative soundscapes, intuitive chord generation, and tactile string manipulation is more than an exercise in music production techniques. It’s an odyssey into a philosophy that endorses an ethos of embracing the chaos found in nature, discovering the sublime in the unconventional, and celebrating the idiosyncratic in our musical quests.

My past, deeply rooted in the tradition of multi-instrumentalism, has always guided me towards the unconventional sonics that lie at the heart of our explorations. Each instrument I’ve encountered on my journey—from the resonant strings of a cello to the vibrant timbres of a homemade synthesizer—has taught me that music is not just about the notes themselves but about the spaces between them, the stories they tell, and the worlds they conjure. Music production, from my perspective, is akin to engaging in a profound dialogue with the untamed and unpredictable forces of our environment. It’s an invitation to perceive the sounds around us not merely as they are but as what they could become—transformed, reimagined, and reinterpreted through the lenses of technology and creativity. This path urges us to listen deeply, not solely to the creations we bring forth but to the narratives whispered by the breeze, the rhythmic patterns of rainfall on foliage, and the natural symphony enveloping us.

In the embrace of the unconventional, while still holding onto the foundations of space and arrangement, we discover the potential in every sound that flutters into our perception. A gust of wind, the crackling embrace of fire, or the distant thunder's roar—these natural phenomena become instruments in their own right, imbued with the capacity to deepen, texturize, and emote within our compositions. Our approach to crafting music morphs into an odyssey of exploration and experimentation, where the unusual or unexpected are not hurdles to be surmounted but gateways to innovation.

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Fout List is a multi-instrumentalist, producer, and visionary artist from Bordeaux, known for blending the organic with the electronic in his compositions. You can listen to his instrumentation work on Kai Whiston’s albums ‘No World As Good As Mine’ and ‘Quiet As Kept, F.O.G.’

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